17-PARAL-LEL: a double-deaf trial called PARAL-LEL: several artists/musicians were invited to contribute one or more tracks of about three minutes which are randomly combined. editing (minimal) and mix by Hopek Quirin and Kris Limbach; this is result number 17 of the experiment: 17-PARAL-LEL Sean Derrick Cooper Marquart (guit) and Anton Mobin (field recording). tracks 1-PARAL-LEL to 15-PARAL-LEL were kindly included in previous Classwar Karaoke Surveys and released as an album on https://classwarkaraoke.bandcamp.com/ as part of a crowdfunding project

213TV: is John Bisset and Ivor Kallin / https://www.youtube.com/user/TwothirteenTV

Anthony Donovan: Flags over facebook faces, not for me, thanks. No lines on the map, not a one

Anthony Osborne: You Owe Us Only The Truth / A film by Anthony Osborne. Music – A Star Of White Chalk II by Union Furnace, a reimagining of a piece by Black Howler. Anthony Osborne is a filmmaker and musician, working in the fields of experimental and trance film and in areas close to free jazz, noise and drone. Even though he finds labels invidious

Anthony Osborne and Ungetreu: A Fox in the Henhouse / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

balkh and Geoff Leigh: Village of Ghosts / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Bob Ostertag: Legs and Arms, taken from the album Motormouth – Bob Ostertag Plays the Buchla 200e, released in 2011 / About the album, Bob says: ‘…All the music herein was played by myself on a Buchla 200e modular synthesizer. The 200e is Don Buchla’s recent reincarnation of the Buchla 200, which he created in 1970, which was in turn the heir to the Buchla 100 he created in 1963. I first started playing a Buchla 200 at the Oberlin Conservatory in 1976 at the age of 19. Two years later I built a Serge synthesizer and dropped out of school to tour with Anthony Braxton. I then settled in New York City where I was part of the “downtown music improvisation scene,” playing often with John Zorn, Eugene Chadbourne, Fred Frith, Toshinori Kondo, and others. Designed by Russian music prodigy Serge Tcherepnin, the Serge synthesizer was similar to a Buchla, but less expensive because it came as a kit which the buyer had to the assemble. At the time, modular synthesizers were considered studio devices, so the fact that I was taking one on stage and attempting to improvise with it at the frenetic pace and turn-on-a-dime style that was just then emerging from the NYC underground meant that I was off on a tangent all my own. My work with the Serge in the 1970s and early 1980 can be heard on these recordings: Anthony Braxton: Creative Orchestra (Koln) (1978), Eugene Chadbourne: The English Channel (1978), John Zorn: The Parachute Years (1977-1981), Fall Mountain: Early Fall. (1979), Bob Ostertag/Fred Frith/Phil Minton: Voice of America (1982). In the 1980s, modular analog synthesizers were displaced by MIDI devices, which were themselves in turn displaced by laptops another decade after that. But recently a fairly random set of circumstances converged in a surprising way, with the result that a Buchla 200e appeared in my studio for a couple of months, and the present recording is the result. After hardly thinking about the old modular, patch cord based synthesizers for 30 years, my renewed encounter with the Buchla has been provocative. Playing a modular synthesizer like the 200e requires that one think about music in a very particular way. Essentially, one has to think geometrically: each module generates certain shapes, and then you make the music by overlaying shapes in different ways. It is a very different experience from working with notation on paper, timelines on screens, icons on laptops, or keyboards. These tracks can “stand alone” as completed musical works, but I can also easily imagine that they might be useful as base tracks for others to build upon. I strongly encourage anyone interested in experimenting in that direction to do so. One artist who goes by the name Rrose has already released a record on the Sandwell District label that he created using my Buchla tracks as starter material. Hopefully, there will be more. Like all my work, this music is available for free under a Creative Commons Attribution 3.0 license. You are free to download, copy, send to your friends, and mix and mangle, or throw in the trash. If you do use these tracks in your own work, please note where they came from. Finally, many many thanks to Don Buchla and Buchla & Associates, as well as the Music Department of the University of California at Davis. Thanks to Thomas DiMuzio for mastering “Motormouth,” and to Rrose his feedback and encouragement / Don Buchla’s instruments can be found at buchla.com

Bonnie MacAllister and John Daly: Dance of Trees and Eyes / One of a number of collaborative duo pieces, in this case a short film, made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Cabrini Green and David Nadeau: Exploring The Ocean Floor / with technical assistance by Simon Paradis-Dionne / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Crank Sturgeon: slight surreptitious squeeze, late night, homely / title says my abject lopes; this tingle does one soap when kindly asking you to lay down your heavens… / http://www.cranksturgeon.com/

Daniel Heikalo: John Fahey en Afrique – John Fahey in Africa / Improv for solo prepared electric guitar simultaneously recorded acoustically with a microphone close to the preparation on the strings

Daniel James Ross and Noel Walsh: The Ides of Eleven Fifteen / One of a number of collaborative duo piece made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

David Fenech: Solaris / Track taken from the album Grand Huit, released February 2013 by Gagarin Records. ‘Grand Huit is one of my alltime favourites (Felix Kubin). recorded completely on a small 4 track studio, this is the first solo album by David Fenech, now reissued and remastered on vinyle for Gagarin Records. with a new visual by New York based artist Martha Colburn’ (Press Release from Gagarin Records)

Destroyevsky: O_tt / Another in an ongoing, sporadic series of thoughts and encounters, involving Annie Dee and Anthony Donovan, extracted from their life together

Doll is Mine: […]

Dr Sparkles: Simon Mathewson and Matt Oakley have been collaborating on and off since 1997. Dr Sparkles is their first major project together since Nutmeg

Fiver’s Stereo: […]

Fleshtone Aura: […]

Greater Than Or Equal To: are laptop/guitar and bass duo Lee Gerrard and Simon Mathewson. They occasionally play live in the Bridport area

Hopek Quirin and Hubert Heathertoes: Rainbows are rarely put between numericals / Hopek Quirin – tapes/bass; Hubert Heathertoes – field recording, processing, analogue and digital loop / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

I Transform / Wave X (The Oneness) / “If you want to kill yourself, kill what you don’t like. I had an old self that I killed. You can kill yourself too, but that doesn’t mean you got to stop living”. Archie’s Final Project… beautifully said. We all are phoenixes in the end, being killed and reborn each and every day. So as all in nature. Nothing is static, the change is perpetual. It’s a process that just is. Without happiness there is no life and without pain there is no progress, full-fledged life is a healthy mix of both. But, there is a very good thing to remember. We cannot be destroyed, our energies are eternal. Sometimes, pain we experience is a sign of a profound transformation, of an enormous growth. As the planet transforms, as the nature transforms, we transform as well. Stay in sync with the transformation, help those affected to cope and love them unconditionally, as well as yourselves. Stay grounded and tune in to the frequencies of New Earth, since it’s already here! The wave of growth that we all are experiencing now is our chance to break all the remaining patterns that don’t serve the highest in us anymore! Global changes are coming, and the balance in the world is shifting as well! Awake, my friends! Let us rejoice in the wake of a great shift!

Jeanette Luchese: Italian-Canadian multidisciplinary artist embroiled in abstraction, prone to experimentation, inspired to create within the disciplines of drawing, printmaking, painting, sculpture, writing and when so moved, transcribing the results to sound.í

From There to Here, living with our ghosts 2015 is the marriage of a time based art project and the sonafication of text of a poem. The art project consisted of photographing/documenting over seven days shadows created at the same time each day of my sculpture ìWhat day is it?î, bringing into play the aspect of chance and an interesting correlation to the passage of time, with results determined by the weather conditions alone. The unexpected inclusion of my shadow was a wonderful surprise and created a interesting visual dialogue alluding to Carl Jungís theories of a self-regulating psyche: the every opposing unconscious and ego. The digital art are the photographs modified/manipulated in photoshop and set into sequence to the sounds from my poem ìFrom There to Hereî a tumultuous journey Ö text ísonifiedí to audio. Transcribing the text to a midi file, I further modified in GarageBand and married it all. It is all just an intuitive creation that I hope you enjoy.www.jeanetteluchese.com

Inspired by works of John Cage, the Fluxus Movement, E.A.T.,(Experiments in Art and Technologies) and Peter Kirn, spam into MIDI notes: I became interested in sound art in 2008 when I saw a video clip of a talk on South by Southwest: Data as Art : Musical, Visual Web APIs and Fred Forest

John Daly: dalyjohn001@gmail.com / https://tighmacalla.wordpress.com/ / Guitars are a primary source for the sound in the compositions I make, which also involve collaborations with other composers and sound artists. As well as conventional guitar technique I use prepared guitar interventions, tunings and percussive elements. The signal path has effects, delays, glitch, looping, which then feed into a computer for further treatments. Improvisation and prerecorded work is supplemented in real time with field recordings e.g. from nature, household and street environments. I am interested in creating immersive soundscapes that stimulate a diverse response to music and sound, improvised and experimental composition. I have performed my work at various sound art events in Ireland and have a strong presence on a number of web platforms and net labels

John Daly and Wilhelm Matthies: Cyaneyes / John Daly – guitar; Wilhelm Matthies – mosesa / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

John Jasnoch and Anthony Donovan: Muon Valley Fandango / John Jasnoch – 5 string banjo; Anthony Donovan – voice and processing / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Jurica Jelic: https://juricajelic.bandcamp.com/

Lezet: is Igor Jovanovic

LR-GW vs ZIURMUZIK: ROUND 1 / 3’33 / November/2015 / Colaborative piece composed for Classwar Karaoke 0032 survey / Lee sent me a piece from which i extracted samples to make a series of rhythmic collages (Peterson). Like some found obscure cassete from the 80’s, those early industrial bands and the drummer may seem to have drunk before the rehearsal (Peterson)Kind of a vs match (battle) Guitar Noise / Drum collage. Good fun making, we will have to consider ‘ROUND 2’ at some stage (Lee) / Styles: noise, industrial, experimental / Sound references: Glenn Branca, Cabaret Voltaire, Psychic TV / ZIURMUZIK [a.k.a. Peterson Ruiz / Short bio: Peterson Ruiz is a sound and visual artist from Sorocaba, Brazil /Contact: email@petersonruiz.com.br / Discover more at ziurmuzik.blogspot.com.br / LR-GW [aka. Lee Riley (Lee Riley Guitar Works)]Short bio: Drone, Noise Maker from Oxford (UK). Playing with sound and things that make sound since 2007 / Contact: lee.riley39@yahoo.co.uk / Welcome to my world… http://leeriley1.blogspot.co.uk/ / One of a number of collaborative duo pieces, in this case a short film, made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Mark Browne and TraumaSutra: Exactly What We Have Been Waiting For/ Mark Browne and Peter De Koning / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Mark Wagner and Jukka-Pekka Kervinen: State of the Vibrations / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Matthies: (11-6-15) / To record the piece, Matthies (11-7-15), I used the mosesa 7. The mosesa is a line of instruments that I am developing that features no neck and one or two plastic bottle resonators. The neck free aspect frees me to pluck and bow anywhere on the whole string spectrum. The instrument is supported by a bongo stand on each end of the instrument. The plastic bottle/s create/s a unique sound quality similar but not an imitation to stretched string plates on other string instruments. Just as some drum makers no longer use skin for their plates, I use plastic, but also take advantage of the way the bottle itself is formed. The bottle creates a unique environment of vibrations that sounds surprisingly good and is equally rich to other established world class instruments. I am still developing the most efficient way to combine the plastic resonators to the support structure, now with the added pressure of a third or fourth string. For this particular recording, the instrument is set up with 3 bass guitar strings. The piece itself is a 2 part piece, exploring the tensions between plucking and bowing in a kind of a stop and go rhythm. I publish announcements of musical events on my Facebook account, where I also show ongoing photography series that, at heart explore the same issues as I do with my music. I am interested in expressing my view on the passage or slippage of time, the illusion of solid reality dissolving into flow, and the various emotional ramifications that can be taken when experiencing and presenting such a flow / https://www.facebook.com/wilhelm.matthies / I publish music on Soundcloud: https://soundcloud.com/wilhelm-matthies / Music is also distributed in several ways: BandCamp: https://darkpebble-bluewave.bandcamp.com / EndTitles: https://gumroad.com/endtitles / Petroglyph: https://archive.org/details/petroglyph394WilhelmMatthies_BirdParadigma-shadows_on_the_wall / Pany Rosas Discoshttp://www.panyrosasdiscos.net/pyr161-wilhelm-matthies-reid-karris-flow/ / BIOG: Wilhelm Matthies, born 1959, studied visual arts at the Universities of South Carolina and Illinois at Urbana-Champaign. When studying at U. Of Illinois-Chicago, he began an interest in designing acoustic instruments based on blending aspects of historical instruments from around the world. In the last few years, his ability to compose visually, design and build a line of instruments and to play the instruments has merged. In particular, he has composed drawings that feature contrasts and blends meant to be performed in poetically oriented (as opposed to narrative) cyclical variations. When looking at and reflecting on events in his life and in his surroundings, the cyclical variation format seems to him to embody the way that events are often experienced. Each moment in performance is thus connected to every other moment by commenting on the memory of the moment, while also being present to it but also anticipating the future within the boundaries of a particularly contoured event. The overall structure is planned and the details are improvised. Instrumentally, pieces are mostly bowed, sometimes plucked, but always pushing the edge of sounds that can be made on this current line of instruments called mosesa. Often the sounds are transitioning between harmonics, overtones and purer tones, while also glissandoing. So a main, central idea is that the music expresses moments of impermanence viewed and heard from various simultaneous angles. Wilhelm Matthies also creates free improvisations using internet collaborations with Paulo Chagas, John Daly, Matthias Boss, Stefan Schmidt, Bird Paradigma, to name a few, and live with Jason Wietlispach, Hall Rammel, Mark Mantel, Paul Westfahl, Cody Steinmann, Rick Ollman, Jay Mollerskov, Rob Lundberg, Albert Wildeman, Julia Miller, Barry Paul Clark, Pat Reinholz, Nicholas Elart and Reid Karris

Metal Mark: What the Wizard Did / A sketch from the Metal Mark Campaign / Created by Ash Steel, Mark Lewis and Natalie Arnold / http://metalmark.bandcamp.com/

opop: deaRR, my fictional name is “opop”, and the name of the work is “nÚstos”, everything is written lowercase, it should be in Greek language, but if it’s impossible isn’t a problem. It’s a mash-up audio/video, the video is from a film (NÚstos – Il ritorno, from F. Piavoli 1990), it’s long ‘7.53, it is a fragment of a longer work which is complete at this link (please link it in description if you decide to upload the video) : https://vimeo.com/75225205 / I’ve made, shortly, a new soundtrack at the original movie, using a lot of audio sources from my hard disk. In this fragment, you can recognize the track of your artistic friend André Pissoir, Bologna, and the track of 500won Project, Luv Story, with the audio works of Robert Monroe (Hemi-sync). You can listen the entire work and discover other artist’s works inside. these are my pages right now: http://dashloss.tumblr.com; https://www.youtube.com/daShloss

Partners of Unknown Knowns: We Repeat till The End of The Anthropocene (Music for “Unknown Knowns”) / A 30 minute dance piece, “Unknown Knowns” created by Partners of Unknown Knowns was premiered on October 17, 2015 at a cafe Sakaiki in Shinjuku, Tokyo. This track is a part of the music for it and recorded at the premiere. Kyoko Yamamoto (trumpet), Mariko Ishigaki (accordion, clarinet), Takuya Matsumoto (bass), Michitaka Nakajima (percussion instruments)improvised and also played written part(by Yamamoto)along with prerecorded track created by Yamamoto and Akai. See: Yasuoakai ñ Prerecorded-part-of-music-for-unknown-knowns-by-kyoko-yamamoto-yasuo-akai

Paul Mimlitsch: Weebles / solo bass clarinet/pedals improvisation

Paulo Chagas and AG Davis: Ping Pong / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Pulcinella: Rising from the Intra-Kozmic ashes of the NYC-based Psych/Prog/Performance Art Trio MANBURGER SURGICAL is PULCINELLA, the ongoing multi-media project of Caw-Lynne “Pulcinella” Snausages. Darkly humorous, visionary, and relentlessly intense, this is: “PSYCHE-DELIC MUSIC FOR UNCERTAIN TIMES.” Pulcinella’s music is based in the realm of both structured and free psychedelic improvisation, and “devil-may-care” experimentation. The band has self-released many unique studio and live recordings, most of which can be found at pulcinella.bandcamp.com Pulcinella THE ALTER-EGO is derived from the Commedia dell’arte archetype of the same name, Pulcinella is the embodiment of the “Kozmic Buffoon,” a sock-a-delic idiot Man-Child hellbent on raising a ruckus. Sanderson uses his highly personal take on the Pulcinella character as a means to unravel inner mysteries of identity, trauma, and internal personal narrative. Culling influence from renegade Performance Art, Z-Grade Horror/Exploitation Film, Noise, Freudian psychology, psychedelia, The Occult and The Grotesque, progressive rock, and puppetry & ventriloquism, Pulcinella’s work is intended to jolt the senses as a means to lead toward an “ULTIMATE KOZMIC TROOTH.”Caw-Lynne “Pulcinella” Snausages- Guitar, Voice, Electronics, SynthesizerDiana K- DrumsDave Tamura- Tenor Saxophone

Qkcofse and Lezet: Mills a Techno Exercise / One of a number of collaborative duo pieces made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Scanner: Blindness / Robin Rimbaud aka Scanner is an artist and composer working in the UK, whose works traverse the experimental terrain between sound, space, and image, connecting a bewilderingly diverse array of genres ñ a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. He scored the hit musical comedy Kirikou & Karaba (2007), designed the sound for the new Philips Wake-Up Light (2009), and campaigns for Nike Hyperfuse (2011), Chanelís Fall-Winter collection (2012) and FT Weekend (2014). Most recently Scanner designed the campaign for Sprint phones in cinemas across America, reaching 2.5 billion spectators, premiered an ambitious audiovisual spectacle based on the songs of Joy Division with Heritage Orchestra, and scored The Big Dance in Trafalgar Square and the re-opening of the Stedelijk Museum, Amsterdam, in the company of Queen Beatrix. In 2014 he was Visiting Artist at MIT in Cambridge USA Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Dangermouse, Coil, Laurie Anderson, The Royal Ballet, Wayne McGregor, Merce Cunningham, Hermes, Hussein Chalayan, Philips Design, Mike Kelley, and Miroslaw Balka. His work has been presented throughout the United States, South America, Asia, Australia and Europe

Sean Reynard: Bananananas / https://vimeo.com/user16222072

Seth Guy: A Deeper Sea v.9 (I) / Recording made by placing the prepared microphone outside an open door of the Avoca Mill during weaving, as part of a tour at the Avoca Village in County Wicklow, Ireland. In this version I’ve used the EQ to focus on a lot of the feedback created by the industrial machine noises coming from the mill in addition to the wind and water from the river outide. Iíve also added reverb and delay to give these feedback sounds a more fluidic presence in the track. As with the other Deeper Sea tracks and my Deeper River material headphones are advised. Made as part of a series of sonic sketches during my artist residency in Dublin at Firestation Artist Studios 4th July – 14th August 2015 / www.sethguy.co.uk / http://soundcloud.com/artist_seth_guy_dublin / www.observingsilence.blogspot.com / http://sethguy.bandcamp.com

Sighell: vowt4ytu|Z7T*trpj

Simon Mathewson: has been making music with cheap synths, delay units and drum machines since the early 1990’s. The vast back catalogue of music he has produced spans genres and mixes styles including electronic, experimental, improvisation and pop songs

SkIM: is Siegfried Kärcher and Tim Iserman / Morphing / One of a number of collaborative duos formed especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures, here submitting a film and a piece of music

Sound Inhaler: In My Mouth (Ericka Ryder Remix) / Originally released on the Timebomber album and now remixed by Ericka Ryder

Stormhat: Nothing is as it should be and it feels in a way alright. Just to stay tuned and say hello pain; the darkness is bringing comfort for the chosen ones and the calmness of a frozen invitation. No wonder the geese are flowing high this late afternoon, I see them through the fog collecting in my future memory. Letís make some tea and celebrate the passing now, already lost with the grace of a beaten plastic bag, restless awake in this turmoil

suRRism: Ariadnus Sub / Certified Emotional Retrospective Negotiation Exprobratrix Proton Caduceus fly In Labour Ink Tranquility. Donít worry nothing much pray here! Mumble Language Noise around Four Walls acquaint with Anti Matter. It is delicate to Disturb Lines with Photonosatanol Procedure of Relations Sounds like Bellow the Ocean. Do you feel aGnostic ableGeysire Gob in System aRidanus? 900 Million Lightyears respire one Breath In Point of us Salmiac. Pro Ton Aritg universalieren wir uns Shed The Word! We interfere in a Universe Step You know The Texture is not topological defect. Any classical Relation-corpse Science has failed. Circular State under Force of Malediction Malformation Malnutrition Malabsorption Malice Malani Malicious Cold-storage Room with No signal of backdoor scenery. Vitamin R is missing Sustaining Program didn¥t work Rekonfiguration nötig! http://surrism.com

Ton Haring and Jonny Martin: Under the water / Ton: electronics, synth, bass, guitar; Jonny: electronics, synth / One of a number of collaborative duo pieces, in this case a short film, made especially for 0032 survey of Classwar Karaoke, for which artists volunteered, and were paired using chance procedures

Warrior Squares: Softly Does It / Extract from live performance 14/11/2015

Zolan Quobble: RAPTURE LIKE TEA LEAVES / Zolan Quobble voice and loop station / In the beginning was an error and since that error there have been many errors. We might as well relax; let ourselves be sucked into heaven beyond oxygen, let ourselves be turned in rapture like tea leaves in hot water. A cloud tongue, sea wide, covers the bay, poised darkly, turning its edge waiting for the night wind, waiting to rush across the plain and crash like a lake on the mountain. Between us and nothingis a weather system. Tiny, high, white clouds shred in a thinning sky. The rain wonít fall again today like it hasnít for years. Any water there was has turned to salt. Bone is salt from flesh. When heat is unmediated by leaves language is a swollen, suffocating,purple gag in a mouth. Sun is good as bleach for killing. Between us and God is nothing. We might as well relax; let ourselves be sucked into heaven beyond oxygen, let ourselves be turned in rapture like tea leaves in hot water / ZQ 2015